Films are made all over the world all the time and only a thin slice of that product is Hollywood.

When I was young I used to sit in the cinema thinking wouldn't it be great if you could have a film in which the characters were like real people instead of being like actors.

The good thing from my perspective is that nobody puts any pressure on me to say what it's going to be. The backers accept that they don't know what they are going to get.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

Films are made all over the world all the time and only a thin slice of that product is Hollywood.

I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.

Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.